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Dante Gabriel Rossetti (British, 1828-1882)Cartoon for a stained-glass window showing The Sermon on the Mount, made for All Saints, Selsley pen and ink and wash62.5 x 48.5cm (24 5/8 x 19 1/8in).Footnotes:ProvenanceGiven by the artist to Algernon Charles Swinburne.Theodore Watts-Dunton (at the death of the above in 1909); to his wife, Clara Reich, at his death in 1914.Thomas James Wise (gifted by the above); to his brother, Herbert Athal Wise, at his death in 1937; to his son, Leslie George Wise, of Durban, South Africa, at his death in 1951.Thence by descent to the present private collection, South Africa.ExhibitedSouth Africa, University of Natal, Old Masters of Yesteryear.The architect G.F. Bodley entrusted the making of stained glass for the church of All Saints at Selsley in Gloucestershire to Morris and Philip Webb. They in turn recruited Rossetti, who was asked to make a series of designs for glass in the chancel as well as for the glass to which the present cartoon is related, showing The Sermon on the Mount, in the church's south aisle. Others who were brought in on the project were Ford Madox Brown and Edward Burne-Jones. This was the first scheme of stained glass to be made by Morris, Marshall, Faulkner & Co., and was an important demonstration of how well these various designers could work together to create an effect of harmonious unity. For images and description of the completed scheme, see A. Charles Sewter, The Stained Glass of William Morris and his Circle, New Haven, 1974, two volumes, I, ills 33-6; II, pp. 171-3.In the present cartoon, as in the completed window, the standing figure of Christ is seen with hands raised as he preaches. Seated on the left of Christ, and to whom he faces, are the figures of the Virgin and Mary Magdalene, and behind them Saints John and James, while on the right, and to whom Christ turns his back, appear St Peter and Judas Iscariot. In the drawing, each of these figures is identified in capital letters within their haloes. Friends of the artist and family members modelled for the figures: Elizabeth Siddal may be recognised as having sat for the Virgin; Fanny Cornforth is immediately recognisable as the model for the Magdalene; the poet Algernon Swinburne appears as St John, and the painter Simeon Solomon for St James; George Meredith was supposedly the model for the figure of Christ; William Morris was caricatured with tousled hair and dense black beard as St Peter; while behind him the loathed art dealer Ernest Gambart, with whom Rossetti was at the time at odds in connection with his outstanding debt to the executors of Thomas Plint, was insultingly shown as Judas, his head resting on his hand as if in devious or angry pattern of thought, and facing away from Christ as if deliberately ignoring the words that were being spoken.Rossetti made two other preparatory drawings for the subject in c. 1861, now in Leeds City Art Gallery (Surtees 142a) and William Morris Gallery, Walthamstow (Surtees 142). The present drawing, of which neither Virginia Surtees and A. Charles Sewter were aware, appears to have been the final cartoon from which the stained-glass makers were to work.The design was reused in 1864 to provide a memorial window to a Miss Polidori (presumably a relation of Rossetti's mother Frances, née Polidori) in Christ Church, Albany Street.We are grateful to Christopher Newall for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sir Edward John Poynter, PRA, RWS (British, 1836-1919)The Cup of Tantalus oil on canvas113 x 75cm (44 1/2 x 29 1/2in).Footnotes:ProvenancePrivate collection, Canada.ExhibitedLondon, Royal Academy, 1905, no. 222.Literature'Second Show Sunday: Academicians and Associates', The Morning Post, 3 April 1905, p. 5.'Art', Nottingham Daily Express, 4 April 1905, p. 4.'The Royal Academy Exhibition', Edinburgh Evening News, 29 April 1905, p. 6.'The Royal Academy: Summer Exhibition: Private View', The Morning Post, 29 April 1905, pp. 7–8.'The Royal Academy Exhibition', The Scotsman, 29 April 1905, p. 9.'The Royal Academy (First Notice)', The Times, 29 April 1905, p. 14Marion Harry Spielmann, Royal Academy Pictures 1905, London, 1905, part 1, p. ii.'Fine Arts: The Royal Academy (First Notice)', Athenaeum, 6 May 1905, pp. 567–68.O. M. H., 'The Royal Academy (First Notice)', Black and White, 6 May 1905, pp. 629–32.'The Royal Academy', Country Life, 6 May 1905, pp. 619–20.'The Royal Academy, 1905', The Graphic, 6 May 1905, p. 1.W. M., 'The Royal Academy: l', Illustrated London News, 6 May 1905, p.648.F. J. M., 'The Royal Academy: I', The Speaker, 6 May 1905, pp. 141–42.'The World of Art: [Royal] Academy—Second Notice', The Queen, 13 May 1905, p. 751.'The Royal Academy', The Times of India [Mumbai], 20 May 1905, p. 12.'Royal Academy: Third Notice', The Daily Telegraph, 29 May 1905, p. 11.A. C. R. Carter, 'The Royal Academy', The Art Journal, June 1905, pp. 165–76.A. L. Baldry, 'The Royal Academy Exhibition, 1905', The Studio, June 1905, pp. 37–51.'Further Notes on Royal Academy Pictures', The Builder, 3 June 1905, pp. 591–92.B. S., 'Fine Art: The Royal Academy (Second Notice)', The Academy, 17 June 1905, p. 640.L. M. Richter, 'A Last Visit to the Galleries', Westminster Review, August 1905, pp. 191–94.IllustratedM. H. Spielmann, Royal Academy Pictures 1905, London 1905, part 1, frontispiece.'Royal Academy Pictures, 1905', The Sketch, 3 May 1905, p. 3.O. M. H., 'The Royal Academy (First Notice)', Black and White, 6 May 1905, p. 629.'Pictures from the Royal Academy: Representative Works', Illustrated London News, 6 May 1905, p. i.'The Royal Academy, 1905', The Graphic, 6 May 1905, p. 2.R. B. L. S., 'Special Supplement to 'The Sphere': The Royal Academy Exhibition Summer, 1905', The Sphere, 6 May 1905, p. i.A. C. R. Carter, 'The Royal Academy', The Art Journal, June 1905, p. 167.'As the Fruit and the Water that Retreated before Tantalus', Illustrated London News, 18 June 1910, p. 984.The Cup of Tantalus is the largest of four works by Poynter shown at the Royal Academy of Arts in 1905; the others were a female portrait and two landscape watercolours, A Surrey Chalk-pit and Autumn Leaves. He had until recently jointly held the positions of President of the Royal Academy and Director of the National Gallery, London. He had resigned from the latter in 1904. The present work makes a playful allusion to the ancient Greek myth of Tantalus, the legendary king of Lydia. He was condemned to the underworld of Hades and made to stand up to his chin in a pool water, but only to have the water recede each time he attempted to drink. Here, Poynter has set the myth in the lavish garden of the Villa d'Este on Lake Como, Italy where he frequently visited. One of the two female figures above a fountain stretches down to reach a cup held up from below by a companion on tiptoe, but it is almost out of reach. The critic from the Edinburgh Evening News thought the stretching companion on the left a 'beautifully drawn figure, lithe and graceful.' One of Poynter's many drawings for this figure was reproduced full-page in the book of his drawings by Malcolm Bell, published in 1905.1 Italy had recently inspired the subject of two watercolours from 1898 by Poynter, Isola San Giulio, Lago d'Orta (Yale Center for British Art, New Haven), and The Approaching Storm, Lake of Orta (British Museum, London).The painting was first shown to the press and critics in the weeks leading to the opening of the Royal Academy Summer Exhibition on 1 May 1905. This was in the studio at his home on The Avenue, Fulham Road, Chelsea. Critics from across the country wrote up the picture for their readers eager to learn what the head of the institution would submit. The picture was regarded as his most important submission into which Poynter, stated the Nottingham Daily Express, had 'woven some exquisite scenic surroundings.' Indeed, it was the landscape of the genre picture that was most admired. The critic of The Builder noted that the work was 'full of little incidents—the flecking of sunlight through the trees, the distant city on a hill, seen across the bay.' Poynter had long painted works that combined archaeological artefacts from the historical record (usually in museums) with anecdotal incident, to form historical genre subjects, and continued to produce these into the twentieth century. In The Cup of Tantalus he was considered 'at his best' in this usual vein (thought the Illustrated London News), and the work was shown in the same gallery as Lawrence Alma-Tadema's The Finding of Moses (1904; Private Collection). Despite the essentially playful aspect of the work, it does incorporate a portion of a bas-relief from the Villa Quintiliana in Rome, which the artist knew in the British Museum and which he had 'inserted' as a focus for the composition, and in keeping with the title's allusion to mythology. The marble bas-relief depicting a Bacchic procession, and dating to around AD 100, was part of the celebrated Townley Collection, and had been in Bloomsbury since 1805.2 Poynter was familiar with many aspects of the rich and extensive archaeological collections of the British Museum. Carter, writing in The Art Journal, admired Poynter's 'erudition, research and connoisseurship' evidenced in the work and the study he must have undertaken at resources like the British Museum. Poynter, in common with other artists of his generation such as Leighton and Alma-Tadema, often adapted archaeological artefacts by re-configuring their meaning and context. It was their incorporation and 'use' that was important and gendered added interest. Indeed, the critic from The Queen thought Poynter was 'scholarly as ever.'The early history of the painting is both fascinating and remarkable, and evidence of the continued influence and agency of art unions into the twentieth century. The picture was sold from Poynter's studio during its first public viewing in the weeks before its debut at the Royal Academy. On 18 April 1905 it was purchased by the newspaper News of the World for 600 guineas. It subsequently organised a nationwide campaign, through the National Art Union, for the competition for various art prizes, the first prize of which was the present lot. Coupons were collected by avid readers of the News of the World between 23 April and 6 August 1905.3 Advertisements for the competition were printed in the regional press, including Birmingham Daily Mail, Liverpool Echo, and Yorkshire Evening Post. The winner of the first prize was a bricklayer, Charles Henry Tuck, from Crowborough, Sussex.1M. Bell, Drawings of Sir E. J. Poynter, Bart., PRA, 1905, plate 19.2British Museum, London (GR 1805,0703.128).3The Daily Telegraph, 22 April 1905, p. 3.We are grateful to Dr. Donato Esposito for compiling this catalogue entry.... 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George Frederic Watts, OM, RA (British, 1817-1904)Cloud landscape oil on canvas64 x 76.5cm (25 3/16 x 30 1/8in).Footnotes:ProvenanceLillian Chapman (F. W. Watts' ward).Gifted to her daughter, Anthea Gilmour (according to a label attached to the reverse).With the Fine Art Society Ltd., London, 1978.Private collection (acquired from the above).The present work was most likely painted circa 1882-1884, when Watts was experimenting with atmospheric effects, in works such as Island of Cos and Carrara Mountains (see Veronica Franklin Gould, G. F. Watts, The Last Great Victorian, London, 2004, opp. p. 155).We are grateful to Veronica Franklin Gould for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Walter Greaves (British, 1846-1930)Nocturne, Battersea Bridge signed 'W.Greaves' (lower right)oil on canvas51 x 61cm (20 x 24in).Footnotes:ProvenanceWith Roland, Browse, and Delbanco, London.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)The River Dove signed and dated 'A.J.MUNNINGS 1911' (lower right)oil on canvas51 x 61cm (20 1/16 x 24in).Footnotes:ProvenanceAnon. sale, Sotheby's, New York, 1 February 2019, lot 460.Property of an Important Collector.This work will be included in Lorian Peralta-Ramos's forthcoming book Tradition and Modernity and the Works of Sir Alfred Munnings to be published by the National Sporting Library and Museum in Middleburg, Virginia.Munnings painted two scenes of this view of the River Dove, the present work and an earlier version dated 1909. The present work has stronger tonalities and greater luminosity in the water's reflections. It is likely that on one of Munnings' frequent forays up and down the rivers, the artist came across this quiet bend and was entranced by the blooming clover on the far shore depicted in the original painting. Returning to this quiet painting spot, the artist captures the sun's transitory reflections on the water with rich impasto and physically sculpts the ripples' animated undulations in creamy gradations of colour. The remaining sparkle of the unseen, dwindling sun, as it breaks through the cloud cover, casts pink tones on the water. The complimentary green hues accentuate the vibrancy of the pink reflections. The fluidity of the brushwork and the rich impasto in parts of the canvas in this and the previous two works, illustrate Munnings adaptation of impressionistic vigour and fascination with light effects even on a day with muted, grey evening light.The River Dove is an upstream tributary which flows into the Waveney near Hoxne and was another painting ground probably discovered when he ventured on river forays up and downstream from his family home in Mendham. '... The River Waveney, which divides Norfolk from Suffolk, and which was to be my painting ground for six years after leaving the artists' room in Norwich [Art School] ... our familiar view from the mills since childhood had been across the meadows to the village... these elms domed and shaped in mass beauty, changed as the summer days happened to be cloudy, clear, hot or cool. On such a day as this they would have appeared purple through the heat haze as they looked into the sun.'Munnings had grown up along a river in the mill house at Mendham so the sound of water churning had been a constant in his childhood. He indicated in his memoirs that the sound of the river was almost medicinal and that 'I often long for the river and the river scenes.' (The Englishman, page 61). This ingrained childhood love of water was a strong inspiration for years to come. The combination of his love of the river and the light's complexities and patterns of changing light on rippling water must have been irresistible.We are grateful to Lorian Peralta-Ramos for compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Edward Seago, RWS, RBA (British, 1910-1974)On The Beach, Waxham Norfolk signed 'Edward Seago' (lower left), bears title (on the reverse)oil on board28 x 40.5cm (11 x 15 15/16in).Footnotes:ProvenanceWith Laing Galleries, Toronto, 1960s.To the family of present owner.Private collection, USAThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dent de T.rex T.rex toothTyrannosaurus rexCretaceousRuby Site, Hell Creek Formation, Perkins County, South Dakota, USAA fine Tyrannosaurus rex tooth which is notable for the extensive blue mineralization which is exhibits. The unrivaled power of this 12.2 meter long predatory species allowed it to hunt virtually every large dinosaur in its environment, including Triceratops, Ankylosaurus, Ornithomimus, Pachycephalosaurus, Edmontosaurus, and even other tyrannosaur. Measuring 9.2 x 4 x 2.8 cm; Measuring approximately 11 cm along the curve This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Tranche polie et gravée de météorite pallasite de Séricho Sericho Meteorite – Polished and Etched SlicePallasiteNorth Central KenyaA polished and etched slice of Sericho displays the outer space gemstones so prized by collectors. Also seen are the Widmanstatten patterns in the iron-nickel matrix. Discovered by science in 2016, Sericho was found by two brothers searching for their camels near their village. Officially recognized as meteoritic in 2016, the masses had been known to native camel herders for decades prior to the 2016 discovery. Weighing 443 grams and measuring 22 x 33 x 0.2 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Malachite polie avec nœuds dits Bull's Eyes Polished Malachite with Bull's EyesDemocratic Republic of the CongoA large specimen with a contour-polished face which reveals the cross-sections of stalactites which manifest themselves as 'bull's eyes' across the face. Measuring 40 x 25.4 x 10.1 cm. (2) Footnotes:Accompanied by a custom-fitted black stand.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Grande malachite botryoïde Large Botryoidal Malachite SpecimenDemocratic Republic of the CongoA large and impressive specimen with a contour-polished face, exhibiting a botryoidal growth habit. Measuring 35.5 x 22.8 x 10.1 cm. (2) Footnotes:Accompanied by a custom-fitted black stand. Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Exceptionnelle sphère de willemite, calcite et franklinite fluorescente sur socle Large and Exceptional Fluorescent Willemite, Calcite and Franklinite Sphere on StandSterling Hill Mine, Ogdensburg, New Jersey Found only at the now closed zinc mines of Franklin, New Jersey. Polished into a sphere of very large diameter, the mineral appears speckled grey and brown in a white matrix by daylight. Under short-wave light the piece fluoresces a brilliant day-glow orangy-red and green. It also phosphoresces green. Created from fluorescent material mined at the famed Sterling Hill Mine, renowned for having the most vivid and the brightest fluorescent stones in the world. This sphere is one of only a very few spheres ever cut from this material and it certainly figures amongst the largest ever seen on the market. Fluorescing a bright neon green and bright red under shortwave UV light, this is an important collector's item not only for its vividness of color, but also for its size. Displayed on its metal stand, it is sure to form a novel conversation piece. Diameter 20.3 cm. Height 39.3 cm with the metal stand. (2) Footnotes:Accompanied by custom-fitted metal stand.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Grande tortue fossile Large Fossil TortoiseStylemys nebrascensisOligoceneWhite River Badlands, South Dakota, USAStylemys nebrascensis was the first North American fossil tortoise described; it ranges in size from a few inches to a yard in length. The turtle shell is made up of the upper carapace and lower plastron, exhibiting an outer horny layer and lower bony layer. The lower layer is formed by bony plates; each plate is attached contiguously by suture. The outer horny layer is a series of scutes made of keratin. Too soft to fossilize, outlines of the keratin scutes are often seen as grooves in the bones (plates) below them. Most of the turtle shell specimens recovered from the White River Badlands are mere fragments. This magnificent shell of an Oligocene tortoise is intact and fully inflated. An indisputably fine specimen of large proportions. Measuring 52 x 36 x 24 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Tortue fossile sur matrice Fossil Tortoise on MatrixStylemys nebrascensisOligoceneWhite River Badlands, South Dakota, USAMost of the turtle shell specimens recovered from the White River Badlands are mere fragments. This magnificent shell of an Oligocene tortoise is intact and fully inflated. An indisputably fine specimen seen on matrix. Measuring 18 x 15 x 8 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Dent de T.rex T.rex toothTyrannosaurus rexCretaceousScollard Formation, Alberta, CanadaAn excellent Tyrannosaurus rex tooth with well-defined serrations which originates from a private ranch in the less frequently seen location of Canada. In this famous species, robust and thick enameled crowns strengthened dozens of teeth with serrations on two different edges like double-sided steak knives, as evidenced by the present fine specimen. Measuring 9.2 x 3 x 2.1 cm; Measuring approximately 9.8 cm along the curve This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Exceptionnelle ammonite opalescente Exceptional Opalescent AmmonitePlacenticeras meekiUpper CretaceousPierre Shale, South Dakota, USALong a key part of a major private collection, this beautiful Placenticeras meeki ammonite from the famed Pierre Shale formation of South Dakota, displays the incredible opalescent 'fire' that is so desired by fossil enthusiasts. Mineralization drawn from elements such as copper and iron-- and enhanced by 70 million years of sub-strata pressure-- has caused the rainbow of red and green colors to emerge. But in addition to its natural beauty, this incredible fossil also tells a story... a remnant of a sea creature alive during the height of the dinosaur's reign. The iridescence arises during the fossilization of the nacre of the shell of the once-living creature. The intact nacre of this ammonite is smooth and exhibits exceptional color and preservation and the inflation of the shell is full. Measuring 19 x 15 x 5 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Très grande ammonite cornée sur matrice Very Large Horned Ammonite on MatrixKranosphinctes sp.Late JurassicMorondava River Basin, Atsimo-Andrefana Region of Toliara, MadagascarA fine, majestically-sized horned ammonite from the Jurassic Age is displayed on matrix, with several smaller associated ammonites completing the aesthetic presentation. Measuring 65 x 47 x 17 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Libellule fossile Fossil DragonflyIsophlebia aspasiaUpper Jurassic Germany, SolnhofenThis is a very large fossil dragonfly (Isophlebia aspasia), wingspan measuring 13 cm, from the Upper Jurassic Solnhofen Limestone of Germany. Complete fossil dragonflies are rare finds in this formation. The Solnhofen limestone is a famous Upper Jurassic Lagerstätte in Germany. The fine-grained limestone makes excellent building materials, which has led to heavy quarrying over the past two centuries, resulting in some spectacular fossils being unearthed.This area represented an archipelago at the edge of a sea. Due to high salt content, the lowest levels in the water column could not support much life and were largely devoid of oxygen. This lack of oxygen and scavengers on the bottom of the sea led to beautiful fossil preservation. Measuring 31 x 34 x 2 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Grande pépite d'ambre vert fluorescent Large, Fluorescent Green Amber NuggetHymanea mexicanaOligocene Chiapas, MexicoChiapas Amber is fossilized resin from the now extinct tree species, Hymanea mexicana which flourished some 23 to 30 million years ago. These giants of the forest released copious amounts of sap trapping insects, flowers and leaves in the sticky resin that flowed. Originally discovered by the Mayans, this amber was valued so much as to be included in their inventory scrolls. The Chiapas locality produced an amber that is actually harder than Baltic amber due to its direct proximity to volcanic earth, making it the hardest amber in the world and completely suitable for carving. The present offering is a classic cabinet-sized specimen capable of standing on its own having flow striations visible one side and plant matter visible to the interior. The nugget fluoresces green under UV light and displays with a slightly green body color in sunlight. Weighing approximately 467 grams and measuring 13 x 7 x 10 cm Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Grand morceau de copal fossile avec insectes Large Copal Specimen with InsectsPleistocene to Pliocene Antioquia, Colombia Copal--fossilized tree sap, or fossil resin--is a precursor to amber. The distinction between copal and amber forms an issue of contention among experts, however. In general, fossil resin is called copal if it is not older than 2 - 20 million years, but, because of the lack of a scaling system for assessing polymerization rates, the nomenclature of resin, copal and amber is inexact. Adding to the difficulties in classifying Colombian copal and amber are the presence of drug cartels in the area, inhibiting more thorough scientific study that might clarify the age of the geologic formations in which these materials are found. The present specimen is a very large one of golden hue, with a naturally pierced hole providing added visual interest as well as plant debris and swarms of termites within. Weighing approximately 1140.9 grams and measuring 21.5 x 15.2 x 6.3 cm Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Rare morceau de copal renfermant une plume et une graine Rare Feather and Seed in CopalHoloceneCap d'Ambre, MadagascarThis outstanding specimen of a complete bird feather has an associated angiosperm seed. The feather is clearly recognizable as a wing feather of a medium-sized bird due to its slightly asymmetrical shape. It is preserved in high detail showing elements of the original coloration. Embedded in highly transparent copal, there are many other inclusions present such as small insects and plant debris. Bird feathers such as the present one, are not known in either amber or the younger copal. Measuring 16 x 4 x 1 cm. (2) Footnotes:Accompanied by a letter of authenticity by Dr. rer. nat. habil. Michael W. Maisch, Dipl.-Geol. Palaeontologist and Dr. rer. nat. Andreas T. Matzke, Dipl. -Geol., Palaeontologist.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Lézard fossile dans un morceau de copal Lizard in CopalZootca sp.PleistoceneAmbohimanatrika, MadagascarAn elongated elliptical specimen of copal polished to reveal a clearly visible fossil lizard, Zootca sp. or gecko inclusion. The lizard, which is 100,000 to 200,000 years old, is of the Reptilia class and Squamata order, with exquisitely complete limbs and eye visible, measuring 8.1 x 0.7 cm. Measuring 11 x 3.0 x 1 cm. (2) Footnotes:Accompanied by a letter of authenticity, dated November 15, 2011, stating that the specimen is a fossil lizard in copal and that it is without restoration, from Peter Pittmann Fossilien, a private institute of paleontological research and preparation firm. This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Dent de tyrannosaure Tyrannosaurid ToothDaspletosaurus (undescribed species)Late Cretaceous - Late Campanian Upper Two Medicine Formation, Near Choteau, Montana, USADaspletosaurus was a huge tyrannosaurid (and a likely ancestor of T. rex, which appeared millions of years later.) It measured up to 30 feet in length but was much more lightly-built than T. rex, with an estimated body weight of approximately 3600 kilos. While it was much smaller than T. rex overall, it possessed huge teeth, as did T. rex. Daspletosaurus' teeth, however, are thin and blade-like, meaning that they are laterally compressed relative to T. rex's, which are fat and spike-like. This difference suggests that Daspletosaurus employed a different hunting style than T. rex. While T. rex was an ambush predator, Daspletosaurus was likely a very agile and swift pursuit hunter, as evidenced by its lighter build, its much more powerful arms and bigger hand claws. Also, the thinner, blade-like teeth of Daspletosaurus would have been more effective in attacks of surgical precision, very unlike the typical brute force attack technique employed by T. rex. The present example exhibits crisp serrations. The natural color of this lower mandible tooth is a marvelous reddish-brown giving the tooth a stunningly unique appearance. Height 8 cm. Outer edge length 9 cm. Circumference at base: 9.5 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Coupe transversale de dent de mammouth Extinct Mammoth Tooth Cross-section SlabMammuthus columbiPleistoceneSouth Carolina, USAThe Columbian mammoth (Mammuthus columbi) is an extinct species of mammoth that inhabited the Americas stretching from the Northern United States and as far south as Costa Rica. It was one of the last in a line of mammoth species, beginning with Mammuthus subplanifrons in the early Pliocene. DNA studies show that the Columbian mammoth was a hybrid species between woolly mammoths and another lineage descended from steppe mammoths; the hybridization happened more than 420,000 years ago. The pygmy mammoths of the Channel Islands of California evolved from Columbian mammoths. The closest extant relative of the Columbian and other mammoths is the Asian elephant.Reaching 4 m at the shoulders and 10 tonnes in weight, the Columbian mammoth was one of the largest species of mammoth. It had long, curved tusks and four molars, which were replaced six times during the lifetime of an individual. It most likely used its tusks and trunk like modern elephants—for manipulating objects, fighting, and foraging. Bones, hair, dung, and stomach contents have been discovered, but no preserved carcasses are known. The Columbian mammoth preferred open areas, such as parkland landscapes, and fed on sedges, grasses, and other plants. It did not live in the Arctic regions of Canada, which were instead inhabited by woolly mammoths. The ranges of the two species may have overlapped, and genetic evidence suggests that they interbred. Several sites contain the skeletons of multiple Columbian mammoths, either because they died in incidents such as a drought, or because these locations were natural traps in which individuals accumulated over time.For a few thousand years prior to their extinction, Columbian mammoths coexisted in North America with Paleoamericans – the first humans to inhabit the Americas – who hunted them for food, used their bones for making tools, and depicted them in ancient art. Columbian mammoth remains have been found in association with Clovis culture artifacts; these remains may have stemmed either from hunting or scavenging. The Columbian mammoth disappeared at the end of the Pleistocene around 11,500 years ago, most likely as a result of habitat loss caused by climate change, hunting by humans, or a combination of both. The present specimen is a thick cross-section slab cut from a tooth which exhibits a rich blue, grey and brown coloration due to mineralization. Polished on both sides, the original texture was left remaining on all sides. Measuring 19 x 8 x 2 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Importante météorite américaine de Canyon Diablo, spécimen complet de plus de 42 kg Historical American Meteorite of Over 42 Kilograms-- Complete Sculptural IndividualCanyon DiabloIron-coarse octahedriteMeteor Crater, Coconino County, Arizona, USAA superb Canyon Diablo specimen, this complete example is replete with the regmaglypts for which the most desirable Canyon Diablo specimens are prized. The fascinating holes and dips were produced during its molten state as it blazed through Earth's atmosphere. Viewed by many collectors as the quintessential American meteorite, Canyon Diablo (meaning Devil's Canyon) is the famous meteorite which produced the gigantic crater located about forty miles east of Flagstaff, Arizona. Judging by the size of the crater - about three quarters of a mile wide and 600 feet deep, with a rim rising 200 feet above the plain - the weight of Canyon Diablo has been estimated at a magnificent 63,000 tons. It is no wonder, then, that entrepreneur Daniel Barringer surmised the presence of valuable metal in the area and began, in 1903, his doomed attempts to mine iron from the presumed main mass of the meteorite which he supposed to be buried beneath the crater. Barringer spent $600,000 (an immense investment in that era) searching for iron without success. After Barringer's death in 1929, astronomer and ballistics expert F.R. Moulton concluded that most of the mass of the meteorite had vaporized on impact. The Barringer family still owns the crater today and it is operated as a private tourist attraction by Meteor Crater Enterprise. With painted inventory number B45165. Weighing approximately 42.18 kilograms (93 lbs) and measuring 33 x 25.4 x 15.2in (2) Footnotes:Accompanied by a photocopy of a letter from Edward J. Olsen, Curator of the meteorite collection at the Field Museum of Natural History, Chicago, Illinois, dated January 4, 1980.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Man Ray (American, 1890-1976)Cadeau Cast iron multiple with 14 copper nails, 1921/1974, signed, titled and numbered 1224/5000 in white ink on the handle, initialled and numbered on the printed plastic justification card, cast by the Mirano Foundry, Venice, published by Luciano Anselmino, Turin, housed in the original casing and box, 165 x 101 x 95mm (6 1/2 x 4 x 3 1/4in)(overall)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Nassos Daphnis (Greek, 1914-2010)SS 11-78 Screenprint in colours, 1978, on wove, signed, titled and numbered 12/120 in pencil, printed and published by John Nichols Printmakers and Publishers, New York, with their blindstamp, with full margins, 805 x 1033mm (31 5/8 x 40 5/8in)(SH)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Victor Vasarely (Hungarian/French, 1906-1997)Zebror; Clown with Ball Two screenprints in colours, 1988, on wove, signed and numbered 10/275 and 7/275 in pencil respectively, published by Galerie Börjeson, Malmö, with full margins, 730 x 430mm (28 6/8 x 17in)(and smaller)(I)(2)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sam Francis (American, 1923-1994)Salmon (Lembark I.9; SFE-4B) Etching and aquatint printed in colours, 1973, on wove, signed and inscribed 'AP 8/11' in pencil, one of eleven artist's proofs aside from the numbered edition of 45, printed by Stamperia 2RC, Rome, published by 2RC Edizioni d'Arte, Rome, with their blindstamp, with full margins, 635 x 890mm (25 x 35in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jim Dine (American, born 1935)Blue Haircut (W.C. 151) Etching with offset lithograph printed in colours, 1972-3, on J. Green mould-made, signed, dated and numbered 75/75 in pencil, printed by Maurice Payne, London, published by Petersburg Press, London, with full margins, 850 x 693mm (33 1/2 x 27 1/4in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Keith Haring (American, 1958-1990)Into 84 Lithographic poster printed in colours, 1984, on wove, from the edition of an unknown size, printed by Leo Castelli, New York, published by Gallery Tony Shafrazi, New York, the full sheet, 890 x 587mm (35 x 23 1/8in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Keith Haring (American, 1958-1990)Galerie Watari Tokyo Offset lithographic poster printed in colours, 1983, on Japanese pearlescent wove, from the edition of 1,000, published by On Sundays Publications, Tokyo, on the occasion of the artist's first solo exhibition at Galerie Watari, Tokyo, Japan, the full sheet, 676 x 517mm (26 7/8 x 20 1/4in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Mel Ramos (American, 1935-2018)Mobilcom - FC St. Pauli I; FC St. Pauli II Two offset lithographs printed in colours, 2003, on wove, signed and numbered 387/400 and 127/400 respectively in pencil, with margins, 535 x 475mm (21 1/8 x 18 6/8in)(I)(2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Joel Shapiro (American, born 1941)Untitled (Red Square with Blue); Untitled (Blue Square with Green) Two etchings and aquatints printed in colours, 1992, on wove, each signed, dated and numbered 17/60 in pencil, published by Pace Editions Inc., New York, with margins, 605 x 455mm (24 1/4 x 17 7/8in)(PL)(2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Donald Sultan (American, born 1951)Wallflower 5, from 'Wallflowers Suite' Screenprint in colours, 2008, on wove, signed with the initials, titled, dated and numbered 75/190 in pencil, printed and published by Har-El, Printers and Publishers, Jaffa, with full margins, 615 x 545mm (24 1/4 x 21 1/2in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Donald Sultan (American, born 1951)Wallflower 6, from 'Wallflowers Suite' Screenprint in colours, 2008, on wove, signed with the initials, titled, dated and numbered 75/190 in pencil, printed and published by Har-El, Printers and Publishers, Jaffa, with full margins, 615 x 545mm (24 1/4 x 21 1/2in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Donald Sultan (American, born 1951)Wallflower 7, from 'Wallflowers Suite' Screenprint in colours, 2008, on wove, signed with the initials, titled, dated and numbered 75/190 in pencil, printed and published by Har-El, Printers and Publishers, Jaffa, with full margins, 615 x 545mm (24 1/4 x 21 1/2in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Donald Sultan (American, born 1951)Wallflower 2, from 'Wallflowers Suite' Screenprint in colours, 2008, on wove, signed with the initials, titled, dated and numbered 75/190 in pencil, printed and published by Har-El, Printers and Publishers, Jaffa, with full margins, 615 x 545mm (24 1/4 x 21 1/2in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

David Hockney R.A. (British, born 1937)My Window The book, 2019, signed on the justification page in black ink and stamp-numbered 0451, from the total edition of 2000, with title-page text and ink-jet reproductions, co-published by the artist and Taschen, Cologne, in the original cloth-bound clamshell box, 550 x 420 x 70mm (21 5/8 x 16 1/2 x 2 3/4in)(overall)• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Francis Bacon (British, 1909-1992)Triptych 1986-87 (Right panel) (Sabatier 6) Etching and aquatint printed in colours, 1987, on Arches, signed and numbered 44/99 in pencil, printed and published by Poligrafa, Barcelona, the full sheet, 655 x 482mm (25 3/4 x 19in)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Spiller (British, 1942-2018)With Love (Mickey) Screenprint in colours, 2016, on wove, signed, titled and numbered 52/95 in pencil, printed and published by Harwood King Studio, Sussex, with their blindstamp, the full sheet, 890 x 880mm (35 x 34 5/8in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Spiller (British, 1942-2018)You Are My Sunshine (Pluto) Screenprint in colours, 2013, on wove, signed, titled and numbered 55/75 in pencil, printed and published by Harwood King Studio, Sussex, with their blindstamp, the full sheet, 950 x 940mm (37 3/8 x 37in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Spiller (British, 1942-2018)Oh Boy (Minnie) Screenprint in colours, 2016, on wove, signed, titled and numbered 52/95 in pencil, printed and published by Harwood King Studio, Sussex, with their blindstamp, the full sheet, 890 x 880mm (35 x 34 5/8in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Spiller (British, 1942-2018)Only Love (Felix) Screenprint in colours, 2012, on wove, signed, titled and numbered 48/75 in pencil, printed by Harwood King Studio, Sussex, published by the artist, with the printer's blindstamp, with full margins, 950 x 935mm (37 3/8 x 36 3/4in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Spiller (British, 1942-2018)In Your Smile (Mutley) Screenprint in colours, 2014, on wove, signed, titled and inscribed 'PP' in pencil, a printer's proof aside from the numbered edition of 75, printed by Harwood King Studio, Sussex, published by the artist, with the printer's blindstamp, with full margins, 880 x 880mm (34 5/8 x 34 5/8in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Spiller (British, 1942-2018)The Power of Love (Donald Duck) Screenprint in colours, 2018, on wove, with the artist's printed signature, further initialled with the artist's wife Maria and son Xavier's initials 'MCXC', titled and numbered 53/95 in pencil, posthumously printed and published by Harwood King Studio, Sussex, with the estate of the artist's embossed stamp, with full margins, 970 x 960mm (38 1/8 x 37 3/4in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Damien Hirst (British, born 1965)Fruitful (Large) (H8-1) Diasec-mounted giclée print in colours, 2020, on aluminium panel, with the artist's printed signature on the publisher's label affixed verso, stamp-numbered 1144/1928, published Heni Productions, London, housed in the original packaging, the full sheet printed to the edges, 780 x 780mm (30 3/4 x 30 3/4in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Damien Hirst (British, born 1965)Forever (Small) (H8-4) Diasec-mounted giclée print in colours, 2020, on aluminium panel, with the artist's printed signature on the publisher's label affixed verso, stamp-numbered 1011/2573, published Heni Productions, London, housed in the original packaging, the full sheet printed to the edges, 390 x 390mm (15 3/8 x 15 3/8in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Damien Hirst (British, born 1965)Mercy, from 'The Virtues' (H9-3) Laminated giclée print in colours, 2021, on aluminium panel, signed in pencil on the publisher's label affixed verso, stamp-numbered 515/817, published by Heni Editions, London, housed in the original packaging, the full sheet printed to the edges, 1200 x 960mm (47 1/4 x 37 3/4in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Damien Hirst (British, born 1965)The Beautiful Afterlife Book, 1997, signed and numbered 900/1000 in blue pen on the title page, published by Edition Gallery Bruno Bischofberger, Switzerland, on the occasion of the 1997 exhibition 'Damien Hirst, The Beautiful Afterlife', overall size 270 x 213 x 28mm (10 5/8 x 8 3/8 x 1in)(Vol)• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Banksy (British, born 1974)HMV Screenprint, 2003, on wove, numbered 460/600 and inscribed 'DN' in pencil, published by Pictures on Walls, London, with their blindstamp, the full sheet, 350 x 499mm (13 3/4 x 19 1/4in)Footnotes:This work is accompanied by the new certificate of authenticity issued by Pest Control Office.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Banksy (British, born 1974)Barcode Screenprint in colours, 2004, on wove, numbered 124/600 in pencil, published by Pictures on Walls, London, the full sheet, 496 x 695mm (19 1/2 x 27 3/8in)(SH)Footnotes:This work is accompanied by the new certificate of authenticity issued by Pest Control Office.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Tunji Adeniyi-Jones (British, born 1992)Three Red Figures Rising Giclée print in colours, 2021, on Somerset Velvet mould-made, numbered 3/40 in ink on the accompanying certificate of authenticity, housed within the original portfolio, the full sheet, 300 x 210mm (11 7/8 x 8 1/4in)(SH)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Tunji Adeniyi-Jones (British, born 1992)A Flashy Encounter Giclée print in colours, 2021, on Somerset Velvet mould-made, numbered 4/40 in ink on the accompanying certificate of authenticity, housed within the original portfolio, the full sheet, 300 x 210mm (11 7/8 x 8 1/4in)(SH)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

After Christo & Jeanne-Claude (American/Bulgarian, 1935-2020; 1935-2009)Over The River, Project for Colorado, The Arkansas River, seen from above; Over The River, Project for Colorado, The Arkansas River, seen from underneath Two offset lithographs printed in colours, 1992, on smooth wove, each signed in pencil, from the edition of an unknown size, published by Schumacher Edition Fils, Düsseldorf, each with margins, 507 x 760mm (19 7/8 x 29 7/8in)(and similar)(SH)(unframed)(2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jannis Kounellis (Greek, 1936-2017)Untitled, from 'Portraits' Photo-etching, 2013, on wove, signed and numbered 20/24 in pencil, printed and published by Har-El, Printers and Publishers, Jaffa, the full sheet, 545 x 400mm (21 1/2 x 15 3/4in)(SH)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Jannis Kounellis (Greek, 1936-2017)Untitled, from 'Portraits' Photo-etching, 2013, on wove, signed and numbered 20/24 in pencil, printed and published by Har-El, Printers and Publishers, Jaffa, the full sheet, 545 x 400mm (21 1/2 x 15 3/4in)(SH)(unframed)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Wang Guangyi (Chinese, born 1956)Face of the Believer Lithograph printed in colours, 2003, on wove, signed and numbered 172/199 in pencil, published by Kwai Po Collection, Hong Kong, the full sheet printed to the edges, 798 x 642mm (31 3/8 x 25 1/4in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Takashi Murakami (Japanese, born 1962)Champagne Supernova: Blue Offset lithograph printed in colours, 2013, on smooth wove, signed and numbered 156/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, the full sheet printed to the edges, 736 x 530mm (29 x 20 7/8in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Takashi Murakami (Japanese, born 1962)Thank You for the Wonderful Destiny Inkjet print in colours, 2021, on Photo Rag, signed, dated and numbered 59/100 in pencil, published by Absolut Art, the full sheet, 600 x 600mm (25 5/8 x 25 5/8in)(SH)(unframed)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com